"Dongting Fishing Hidden Map" is a paper book with a length of 146 ~ 4cm and a width of 58 ~ 6cm, and it is an ink painting. The composition is similar to Ni Zan's "three-stage": three dry strokes are drawn on the slope below, two pine trees are tall and straight, and a cypress tree behind is covered with vines; In the middle is the lake, where there are boats carrying fishermen; Above are the distant mountains and the slopes of Zhu Ting. There are lush leaves of wood on the mountain, and there are many leaves of aquatic plants and reeds at the water's edge, which seem to be rare in previous paintings. Thick ink wet pen points out leaves and moss, showing the lush and vitality of vegetation. The alum head on the slope and the wet pen length of the slope stone show the origin of his learning from Ju Ran, and the arc of aquatic plants is in harmony with the straightness, rigidity and softness of the trunk, corresponding to dryness and wetness. The boat is placed on the right side of the picture, slightly to the side, horizontal to the waterfront, forming a small side angle, which is extremely beneficial to breaking the horizontal and vertical vision caused by the waterline and trunk.
Original title on the picture: "Dongting Lake is windy at night, and the wind takes the lake. Orchids are stable and grass is new. Only catch bass, not call the roll. " Poetic and fresh, frankly. He is the only one of the four Yuan families who is poor and willing to live in seclusion under the forest. He is arrogant and unmoved by the situation. The inscription is written in cursive script, which is unique in traditional landscape painting. Landscape painting changed from realism to freehand brushwork from Song Dynasty to Yuan Dynasty. But the inscriptions are mostly block letters and running scripts, and even Yang Weizhen's cursive script is rare. It seems that only Zhenwu uses cursive calligraphy and painting. I thought it was quite novel when I first came into contact. The flying cursive script seems to be inconsistent with the steadiness of landscape painting lines. But after careful thinking, I understand that it is not necessary to be limited to the style of books, but to observe the similarities and differences between books and painting pens. Zhenwu's paintings are marked by strong bald center hooks, curls and dots, with dignified and smooth lines and a sense of rhythm. The same is true of his calligraphy, whose pure center, staggered strokes and strict statutes are very consistent with the brush. Its cursive script seems to beat, but it is actually very calm with a pen. I once compared Wang Xizhi's cursive script to The Legend of Taiji, which was slow and methodical and never scribbled. Moreover, the position of Zhenwu's inscription is often in the middle of the painting, which shows his unparalleled confidence and ingenuity.